Tag Archives: Christina Hendricks

Toy Story 4

Toy Story movies have always been darker than people give them credit for. In the first film, Buzz believes himself to be a hero stranded in a hostile environment. Turns out, he’s just a toy – everything he thought was real is a lie. He exists to be someone’s plaything, and Woody and the gang convince him that there’s dignity and even nobility in this fate, even if it strikes you and I as a kind of slavery, to exist merely at someone else’s whim, until you’re all used up, and then you’re disposed of. What a dizzying and disorienting concept; it’s no wonder Buzz literally gets depressed when he learns his true nature. In the second film, Woody literally contemplates his own mortality. His benevolent master Andy will one day tire of him, and worthless, he’ll be discarded. His friend Jessie really hammers this home with a heart-wrenching flashback of being abandoned at the side of a road by someone who once claimed to love her. Ultimately, Woody chooses to live as a toy rather than achieving a sort of immortality as a collector’s item; he’ll have a short but meaningful life rather than a long but insignificant one. What a choice. In the third film, Woody and the gang face the consequence of this choice: Andy goes off to college, and eventual abandonment becomes actual abandonment. Not only that, but the best friends are being separated, with Woody being doomed to spend his twilight years alone on Andy’s shelf, no longer a useful, loved plaything, but a mere relic of his past. Meanwhile, his friends are going to molder up in the dark oblivion of an attic. What cold comfort. Luckily, the toys are instead given to a little girl named Bonnie to live out a happy afterlife. Cue the fourth film.

Woody (Tom Hanks) and pals are having a grand old time being played with by Bonnie. Sure, the little girl prefers cowgirl Jessie (Joan Cusack) over cowboy Woody just a tad, but still, it’s a good life, no complaints. Bonnie is starting kindergarten soon, and at an orientation session, she shows some initiative (fancy term for not following instructions) and makes herself a toy out of trash rather than a pencil cup out of art supplies. She brings her cherished new friend home and gives him a place of honour among toys. “Forky” is no more than a spork, some googly eyes, a pipe cleaner, and a broken popsicle stick, but he’s Bonnie’s new best friend, so Woody vows to keep them together at all costs. That’s going to be a problematic promise because a) Bonnie’s family is embarking on an RV roadtrip and b) Forky has some suicidal tendencies. Forky was never supposed to be a toy, you see. He’s trash. He knows he’s trash. Rather simple-minded and fairly spooked, all he wants more than anything in the world is to be trash once again, which is where he keeps launching himself. Woody keeps dutifully fishing him out, but one of these times he’s bound to get thrown out for good. It’s on one such rescue mission that Woody encounters an antique store where he thinks he may find an old friend/lost toy/love interest, Bo Peep (Annie Potts). We haven’t seen Bo Peep since the second movie, which was 20 years ago. Where has she been this whole time?

Bo’s been living free and wild as a toy with no owner. That’s essentially Woody’s worst nightmare but she makes it sound rather grand. Besides, Woody has a new worst nightmare: another antique store occupant, vintage doll Gabby Gabby wants his voicebox and she’s prepared to rip the stuffing out of his chest to get it. Yikes!

Structurallly, this fourth installment plays out a lot like those that came before it. There’s always some kind of separation, and then some kind of secondary rescue mission when the first one fails. These toys sure do get themselves into some high-stakes situations on an alarming basis!

It’s wonderful to see the cast of old friends: Bo looks shinier than ever, and Jessie’s hair has never looked yarnier. The animation on these films started out innovative and has only improved. And new friends are a hoot and a half: Forky (Tony Hale) is a walking, talking existential crisis, but the rendering of his pipe cleaner is photo realistic. Gabby Gabby (Christina Hendricks) was a dollie defective right out of the box, and her resulting failure to bond has really warped her. Duke Caboom (Keanu Reeves) is a Canadian daredevil who never lived up to his promise; he is haunted by his past, and by the kid who resoundingly rejected him. Ducky (Keegan-Michael Key) and Bunny (Jordan Peele) are two brightly-coloured stuffed animals attached at the hands. They’ve been unredeemed carnival prizes for far too long, and are a little unhinged. Officer Giggle McDimples, Giggs for short (Ally Maki), may look precious and pocket-sized, but she’s a force to be reckoned with, and fiercely protective of her road warrior partner, Bo Peep. All these new toys will come together in surprising ways to give our pal Woody one last big adventure.

Coming full circle with the original film in the franchise which was released 24 years ago, Toy Story 4 has Woody once again paired with a toy who does not believe himself to be a toy. Woody’s experiences with Andy, and now with Bonnie, position him to a real advocate for finding and fulfilling one’s purpose and embracing one’s destiny. Heartwarming and heartbreaking in almost equal measure (I cried twice before the opening credits were over, and then alllllll the way home), Toy Story 4 more than justifies its existence. But after the perfect send-off in #3, is #4 a necessary or worthy addition? As much as I looked forward to connecting with these characters again, I surprise myself by saying no. Toy Story 4 is a good movie, an entertaining one, a very sweet one, but I can’t help but wish they’d left it at a trilogy so that we could have one perfect, shiny thing in our lives.

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TIFF18: American Woman

At first glance, Deb (Sienna Miller) is all-too-easily dismissed. She’s a former teen mom turned grandmother at 31. She’s a mistress whose hot date turns out to be a trip to a sleazy motel room, where she is handed a plastic bag containing either dollar store lingerie or a slutty devil halloween costume (same difference, really). The next morning, we see that she is waking up alone in her own bed, suggesting the motel room was paid by the hour.

At that point, we’re about five minutes into American Woman, and you’re ready to write Deb off.

But don’t. Don’t you dare.

AmericanWoman_02Because Deb is worth more than she even knows, which she stars to discover after her daughter fails to come home one night after a date with her basement-dwelling baby daddy.  A loved one’s disappearance must be life-shattering. Miller lets us see the dissapearance’s drastic effects on Deb in such a restrained and measured way that Deb’s resulting character growth is organic, believable, and most impressively, almost invisible at first. Deb’s evolution is captivating, and the Deb we know by the end of the movie is at once the same core character and a woman whose outlook and attitude have evolved beyond anything I could have ever expected.

I cannot overstate the magnificence of Sienna Miller’s performance in American Woman. She is magnetic and conveys a mix of strength and vulnerability that is as authentic a performance as I can remember. And while Miller is the standout, he excellence is almost always matched by the rest of the cast, including Christina Hendricks as Deb’s sister, Amy Madigan as Deb’s mom, and Mad TV’s Will Sasso as Deb’s brother-in-law. Deb is rightly the focal point but it’s great that the strong supporting characters each get the chance to shine.

The gauntlet thrown down by the cast’s fantastic performances is picked up by those behind the camera, and they are up to the task. Brad Ingelsby’s script is smarter than it has any right to be, discarding obvious answers on a regular basis, and showing off by giving effortless depth to secondary and tertiary characters (including turning an obvious villain into an earnest guy deserving of our sympathy). Director Jake Scott uses care and moderation rather than flash and sensationalism, particularly in a crucial scene at the film’s climax, proving beyond any doubt that less is more. Scott consistently makes brilliant choices even in small details, such as by using visuals and settings to indicate the passage of time, rather than title cards.

The result of all of this individual brilliance, naturally, is a standout character study that can hold its own against anything that TIFF18 has to offer (which I can say with certainty since I saw If Beale Street Could Talk and Roma on either side of it). American Woman is as smart, rewarding and satisfying a cinematic experience as anyone could ask for, making for a film that you absolutely do not want to miss.

Candy Jar

Lona and Bennett have been rivals their entire high school careers. In their senior year, with Lona (Sami Gayle) applying to Harvard and Bennett (Jacob Latimore) gunning for Yale, the pressure on them to do well is enormous, and they are dismayed to learn that as debate co-champions and debate co-presidents, debate isn’t going to give either of them the edge over the other. And while their ambitions drive them on, their respective mothers may hold them back. His (Uzo Adubo) is an affluent, accomplished state senator, and hers (Christina Hendricks) is a single mother with three jobs and a chip on her shoulder. And of course they too were once high school rivals.

I wondered if Candy Jar was going to do for debate what Pitch Perfect did for glee club: it’s not. First of all, debate club sucks. Clearly things have changed since I was in high Candy-Jarschool. Apparently debate is now mostly loud, fast shouting. Like auctioneer fast. The arguments are spit out in such a high-speed string that they are not even distinguishable. So it’s really not all that fun to watch. As in, not remotely fun, so I wonder if the director just invented the fast pace in order to basically fast forward the most boring parts of his movie. Which is not exactly a vote of confidence, is it?

Meanwhile, their guidance counselor (Helen Hunt) is more concerned about them getting dates and going to school dances and other borderline creepy things than about their academic futures. Basically, these two are co-champions on paper but co-losers in life.

The cast is pretty solid and I’m particularly happy to see Uzo Adubo go from Crazy Eyes to State Senator. Girl is versatile! And while the kids have important lessons to learn about disappointment and loss and perspective (and perhaps their parents even more so), it feels like director Ben Shelton lacks a specific vision. If you’re going to contribute to the vast oeuvre of high school movies, maybe try not to suck so much. Well, suck is a harsh word. Bland is probably more accurate, but nearly as damning, I think.

Also, for the record, Sean suffered a personal disappointment when he discovered the movie to be titled Candy Jar and not Cookie Jar. So we’re holding that against it too.

The Strangers: Prey at Night

I’ve avoided slasher flicks ever since I was 12 and the idea of Friday the 13th (which I’d never seen but had the plot recited to me on a canoe trip the previous summer) made me run in terror anytime I was alone in the woods at night. Since then, I’ve seen very, very few straight-up slashers (Halloween being a rare exceptiStrangers 7-5-17-6620.dngon and a standout) because, honestly, they’re almost always really stupid. The Strangers: Prey at Night is a very good example of “really stupid”, and that is about the nicest thing I can say about it.

Since I really don’t care for this type of movie, I may be dead wrong, but I have always thought the appeal of these films can be distilled down to three basic elements:

  1. Clever kill sequences;
  2. The filmmaker toying with the audience’s expectations, delivering a humourous jolt when we think a scare is coming, or vice versa; and
  3. Seeing idiots get what is coming to them, namely being murdered in some kind of clever kill sequence.

Combine those elements with a memorable mass murderer and you’ve got a franchise on your hands!

The Strangers: Prey at Night has none of those things. Sure, the killers wear weird masks, but doesn’t almost every murderer? Otherwise, these killers just walk around menacingly, more out of obligation than for any particular purpose, and don’t have any discernable motivation, backstory, or personality traits. The only memorable thing is that the killers have a penchant for 80s music. Like, will search the radio presets until they find some, even if there is a potential victim right there for the murdering, so they are pretty big fans.

And there are no clever or humourous sequences, just monotony. The people who die get stabbed. Also, the people who live get stabbed. None of the encounters consists of anything more than that, save for the 80s synth-pop blaring consistently while the fights take place. Worst of all, we are forced to sit through about 25 minutes of family “drama” before the killing even really begins.

So who, exactly, is this movie for? You will have to tell me because it is not for me or for anyone I know.  I also don’t think it would have worried little 12-year-old me in the least, which is the biggest strike of all since back then I was terrified by the very idea of the phantom zone from Superman 2.  Basically, if you are looking for a mix of synth-pop and grisly violence, skip this film and stick with the holy trinity: Halloween, Drive, and Grand Theft Auto: Vice City.

 

Pottersville

Maynard is the nicest guy in town, so it’s kind of upsetting when he goes home to surprise his wife with a couple of steaks and instead finds her – no, not naked in bed with another man, but dressed up in a plush mascot costume with one, which is somehow worse. She’s not just an adulteress, she’s a furry, the kind of person who gets kicks from dressing up and rubbing herself on someone else, also wearing a sweaty costume.

still1_pottersvilleMaynard is shocked and disturbed, and after a night of drinking, he finds his old hunting gear and an ape mask, though they bring him little consolation. Cut to: the next morning, the small town’s abuzz: big foot is on the loose. It doesn’t take long for Maynard to connect the dots and realize HE’S the one they’re looking for, but he keeps that embarrassing information to himself and the legend grows.

Netflix has a whole bunch of really, um, interesting holiday fare in its lineup this year, and this one stars the likes of Michael Shannon, Judy Greer, Ron Perlman, and Christina Hendricks (as the furry). I kind of dig Michael Shannon. He’s a great actor whose choices sometimes baffle me – this holiday season you can check him out in this, or the Oscar-bound The Shape of Water. Totally up to you. If you’re looking for a Christmas movie that’s light on Christmas, high on conspiracy, and is a tolerable if forgettable watch, well, I can say with confidence that this is the cream of the crop. If it’s also my opinion that the crop this year is spoiled, well, that’s a whole other post.